DOCSLIB.ORG

Lipkind Open Studio // with Cellist Gavriel Lipkind and Faculty Members

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Lipkind Open Studio // with Cellist Gavriel Lipkind and Faculty Members LIPKIND OPEN STUDIO // WITH CELLIST GAVRIEL LIPKIND AND FACULTY MEMBERS Two-semester course 2017/2018 in the English language ►► GAVRIEL LIPKIND // CELLO GAVRIEL LIPKIND // CELLO Gavriel Lipkind, an intriguing and dynamic musician on stage, is also At this pivotal point these two contrasting recordings showed him a person of great creativity and thought, intellectual involvement and moving from strength to strength as a conceptual musician with an kindness. own compositional voice and a true expressive virtuoso with a deep knowledge of the cello. 100000 sold CDs and 4 reprints later, these Born in 1977 in Israel to a family of immigrants from Moscow, Lipkind recording have long become celebrated jewels and collector´s items enjoyed a stellar early rise to fame in his early years and appeared in the wide music world. The fulminant success of these self-produced in some of the world most prestigious venues with orchestras such as recordings gradually moved the artist away from his isolated lifestyle, the Israel Philharmonic, the Munich Philharmonic and the Baltimore and brought him back on stage.Lipkind is now referred to by the press Symphony, working alongside outstanding musicians such as Zubin as an „Iconoclastic Thinker“, a „Cello Monk“, a „Nano-musician“, and a Mehta, Philippe Entremont, Giuseppe Sinopoli, Yehudi Menuhin, Pinchas „Maverick“. Zukerman, Yuri Bashmet and Gidon Kremer. Having graduated from three major academies on three continents and having won more than His dynamic minimalist performances of the great German masters a dozen top prizes in major competitions, Lipkind found himself at the are „[...]an impossible breed of extremes“, With the seemingly unbridled pinnacle of his youthful achievements. panache of a rockstar Lipkind manages to converse the intimate laws of musical space/time. 10 years later, Lipkind‘s unique brand of musicianship The Frankfurter Allgemeine Zeitung wrote of him:“A new star ascends quietly inspire a new modern audience. These audience are characteri- the cello sky [...] The young Israeli cellist is one of the major musicians zed by an unusual diversity of age, interests, layers of society, and levels to have entered the music scene in recent years.“ (Ellen Kohlhaas 1997) of erudition. Besides the well known masterworks, Lipkind´s repertoire In spite of his fulminant success as a young cellist, Lipkind decided aged encompassed numerous rarities, newly commissioned works, own arran- 23 to take a sabbatical to focus wholly on the innermost aspects of his gements, and a daring approach to chamber music. musicianship. He tours with outstanding orchestras and conductors, most recently With the precognition of an old man, Lipkind relocates into a small worth noting Mariinsky Theatre under Valery Gergiev, Tokyo Metropolitan village in the Taunus mountains near Frankfurt and spends the next under Eliyahu Inbal, and Brussels Philharmonic under Anthony Wit. three years working reflectively on his repertoire, liaising with composers, However, the very core of Lipkind‘s artistic life will always remain his experimenting with new instruments, considering new approaches to solo recital performances of Bach and related pieces titled:“Bible of the established formations, giving masterclasses and producing recordings of Cello“.These one-man-shows reflect everything Lipkind stands for, his the highest order. early childhood love to the music of J.S.Bach and fascination by the rich polyphony within a single voice. Finally, in the end of 2006 Lipkind chooses to release two contrasting albums concurrently: Miniatures and Folklore, featuring his own arrange- www.lipkind.info ments and Single Voice Polyphony, showcasing Bach´s Cello Suites. ►► TWO-SEMESTER COURSE 2017/2018 IN THE ENGLISH LANGUAGE € 4,000 for the entire course (price includes study fees - without accommodation, travel expenses and meals) SUBJECTS OF STUDY Command of the Cello (14 lessons per semester) ► G. Lipkind Chamber Music Performance (10 hours per semester) ► G. Lipkind Open Studio (10 hours per semester) ► G. Lipkind Study of orchestral parts (10 hours per semester) ► Members of Faculty Orchestra Practice (16 hours per semester) ► Faculty of Fine Art Orchestra / Janacek Philharmonic Orchestra (JPO) Collaborative Piano (8 hours per semester) ► Accompanists of Faculty of Fine Art Interpretation Seminars (10 hours per semester) ► Department of String Instruments Music, Arts, and Culture in the Modernist Era /c. 1880–1920/ (13 hours per semester) ► Martin Čurda Music, Arts, and Culture from Inter-War Avant-Gardes to the Post-Modern Era (13 hours per semester) ► Martin Čurda ►► SUBJECT ANNOTATION COMMAND OF THE CELLO The objective of this course is focused on improving the student’s command of the cello. Both aspiring soloists as well as chamber and orchestra players are welcome. A personal study plan will be prepared taking into account the specific capabilities of each individual student. A radical appro- ach rooted in the fundamental mechanics of cello playing allows a technical analysis of interpretative goals. The student will learn how to work effec- tively and independently, how to translate style-specific tonal approaches into cellistic gestures, how to shape time (temporal awareness) and gain an overview of the musical material while embracing technical details. CHAMBER MUSIC PERFORMANCE At least 20 minutes of significant chamber music repertoire per semester should be rehearsed worked through and performed. The anatomy of musi- cal collaboration and chamber musicianship are at the centre of this course. The following aspects will be constantly involved: improved instrumental command, expressive maturity, the ability to proactively follow/lead a musical partner, harmonic intonation, ways to articulate/shape/transition into a note together, closing the gap between a string instrument and the piano, physical gestures. The expected outcome is a public performance of rehear- sed repertoire. All ensemble formations are welcome. Groups may be formed especially for the course but must remain a fixed chamber music project for the entire period of the course. OPEN STUDIO Here the emphasis is on raising questions and reflecting together on the interpretative process. The student may present any general doubts / specific questions as ‘material’ for a lesson relating to any repertoire. This course is open to all students of Faculty of Fine Arts without distinction on the field. The door is open to all curious investigative minds. Students will be encouraged to join each other’s lessons, engage in discussion, couch each other and draw conclusions together. STUDY OF ORCHESTRAL PARTS AND PLAY AT SIGHT The aim of the course is to apprise students with the basic orchestral repertoire - orchestral solos. Furthermore, using a variety of special exercises to develop student orientation at the play at sight and even develop his ability to play of unprepared part. The course supposes careful preparedness designated orchestral parts and regular training of play at sight. Studied violoncello parts will be examined by the credit hour replay at the end of the course. ORCHESTRAL PRACTICE The course provides students to gain invaluable experience of playing in a symphony orchestra (Faculty of Art Orchestra, Ostrava Youth Orchestra, Janacek Philharmonic Ostrava) directly in practice. Emphasis will be placed on the individual preparedness of each orchestral part. The outcome of the course will be performance at the concert of Faculty of art orchestra, Ostrava Youth Orchestra or participate on one routine shift in Janacek Philhar- monic Ostrava. Selecting of the orchestra will depend on the interpretive level of individual students. ►► COLLABORATIVE PIANO The course provides students to gain invaluable experience of playing in a symphony orchestra (Faculty of Art Orchestra, Ostrava Youth Orchestra, Janáček Philharmonic Ostrava) directly in practice. Emphasis will be placed on the individual preparedness of each orchestral part. The outcome of the course will be performance at the concert of Faculty of art orchestra, Ostrava Youth Orchestra or participate on one routine shift in Janacek Philhar- monic Ostrava. Selecting of the orchestra will depend on the interpretive level of individual students. INTERPRETATION SEMINAR Interpretation seminar is the collective subject in which students will present results of their work from the main field and chamber music. The target of education is to educate independent musicians who will be able to apply in various fields of musical practice. To this target leads also the subject content of interpretive seminar that provides an ideal space for the confrontation of opinions, presenting of various activities for the application of knowledges and skills from the main field and theoretical lectures. The main task is to arouse students‘ activity by their involvement in specific projects: ► Interpretative (various concert series, thematic concerts, exchange concerts and analysis of interpretive questions) ► Visits to concerts, competitions, courses and their evaluation. ► Organizing extraordinary lectures and workshops of our pedagogues and invited lecturers from other schools. MUSIC, ARTS, AND CULTURE IN THE MODERNIST ERA (C. 1880–1920) The objectives of this course are: ► to explain the key aesthetic concepts (such as Symbolism, Expressionism, Primitivism etc.) subsumed under the over-arching notion of modernism, ► to provide insight into the cultural/social/political context in which such ideas were embedded (with particular
Load more

Recommended publications
  • International Viola Congress
    CONNECTING CULTURES AND GENERATIONS rd 43 International Viola Congress concerts workshops| masterclasses | lectures | viola orchestra Cremona, October 4 - 8, 2016 Calendar of Events Tuesday October 4 8:30 am Competition Registration, Sala Mercanti 4:00 pm Tymendorf-Zamarra Recital, Sala Maffei 9:30 am-12:30 pm Competition Semifinal,Teatro Filo 4:00 pm Stanisławska, Guzowska, Maliszewski 10:00 am Congress Registration, Sala Mercanti Recital, Auditorium 12:30 pm Openinig Ceremony, Auditorium 5:10 pm Bruno Giuranna Lecture-Recital, Auditorium 1:00 pm Russo Rossi Opening Recital, Auditorium 6:10 pm Ettore Causa Recital, Sala Maffei 2:00 pm-5:00 pm Competition Semifinal,Teatro Filo 8:30 pm Competition Final, S.Agostino Church 2:00 pm Dalton Lecture, Sala Maffei Post-concert Café Viola, Locanda il Bissone 3:00 pm AIV General Meeting, Sala Mercanti 5:10 pm Tabea Zimmermann Master Class, Sala Maffei Friday October 7 6:10 pm Alfonso Ghedin Discuss Viola Set-Up, Sala Maffei 9:00 am ESMAE, Sala Maffei 8:30 pm Opening Concert, Auditorium 9:00 am Shore Workshop, Auditorium Post-concert Café Viola, Locanda il Bissone 10:00 am Giallombardo, Kipelainen Recital, Auditorium Wednesday October 5 11:10 am Palmizio Recital, Sala Maffei 12:10 pm Eckert Recital, Sala Maffei 9:00 am Kosmala Workshop, Sala Maffei 9:00 am Cuneo Workshop, Auditorium 12:10 pm Rotterdam/The Hague Recital, Auditorium 10:00 am Alvarez, Richman, Gerling Recital, Sala Maffei 1:00 pm Street Concerts, Various Locations 11:10 am Tabea Zimmermann Recital, Museo del Violino 2:00 pm Viola Orchestra
    [Show full text]
  • Shostakovich (1906-1975)
    RUSSIAN, SOVIET & POST-SOVIET CONCERTOS A Discography of CDs and LPs Prepared by Michael Herman Dmitri Shostakovich (1906-1975) Born in St. Petersburg. He entered the Petrograd Conservatory at age 13 and studied piano with Leonid Nikolayev and composition with Maximilian Steinberg. His graduation piece, the Symphony No. 1, gave him immediate fame and from there he went on to become the greatest composer during the Soviet Era of Russian history despite serious problems with the political and cultural authorities. He also concertized as a pianist and taught at the Moscow Conservatory. He was a prolific composer whose compositions covered almost all genres from operas, ballets and film scores to works for solo instruments and voice. Piano Concerto No. 1 in C minor with Trumpet and String Orchestra, Op. 35 (1933) Dmitri Alexeyev (piano)/Philip Jones (trumpet)/Jerzy Maksymiuk/English Chamber Orchestra ( + Piano Concerto No. 2, Unforgettable Year 1919, Gadfly: Suite, Tahiti Trot, Suites for Jazz Orchestra Nos. 1 and 2) CLASSICS FOR PLEASURE 382234-2 (2007) Victor Aller (piano)/Murray Klein (trumpet)/Felix Slatkin/Concert Arts Orchestra ( + Hindemith: The Four Temperaments) CAPITOL P 8230 (LP) (1953) Leif Ove Andsnes (piano)/Håkan Hardenberger (trumpet)/Paavo Järvi/City of Birmingham Symphony Orchestra ( + Britten: Piano Concerto and Enescu: Legende) EMI CLASSICS 56760-2 (1999) Annie d' Arco (piano)/Maurice André (trumpet)/Jean-François Paillard/Orchestre de Chambre Jean François Paillard (included in collection: "Maurice André Edition - Volume
    [Show full text]
  • Programm 23.–26
    THE BEST OF 2013 Kammer musik festival Thun Programm 23.–26. Mai Herzlich willkommen zur fünften Ausgabe von GAIA! Musik erleben am Thunersee. Unser kleines Jubiläum gibt uns Gelegenheit, all jenen GAIA is Love! zu danken, die GAIA unterstützen, seitdem wir 2009 in die Schweiz kamen. Unser Festival besteht dank der Die Künstlerinnen und Künstler Grosszügigkeit und der Hingabe unzähliger Menschen – gehören zu den besten weltweit, es sind zu viele, um sie hier namentlich zu nennen. Dazu die Stimmung unter ihnen ist ein- gehört das Team, das Ihnen GAIA präsentiert, dazu gehö- malig, das Ambiente am Thunersee ren einige der spannendsten Musiker und Künstler, die ebenfalls. Am Kammermusikfes- wir kennen, dazu gehören unsere Sponsoren und Mäze- tival GAIA wird Musik nicht nur ne, Mitwirkende und Fürsprecher, Familie und Freunde. gespielt, sondern gelebt. Im Gegen- Wir haben in diesen fünf Jahren viel Lob und Er- satz zu anderen Festivals verweilen munterung für unser Festival erfahren. Und es berührt die Musikerinnen und Musiker uns sehr, dass bestimmte Werke, die wir aufführten, zehn Tage lang im selben Hotel am bei Ihnen auf besondere Resonanz gestossen sind. Thunersee. Sie essen zusammen, Wie oft haben wir die Möglichkeit, Vergangenes im diskutieren zusammen und machen Gegenwärtigen zu erleben? 2013 tun wir es, indem wir Musik zusammen. Das Resultat die- Ihnen musikalische Höhepunkte aus früheren Festi- ses intensiven Miteinanders macht vals erneut präsentieren – Ihre persönlichen GAIA- jedes einzelne Konzert zu einem Favoriten. Diese sind im Programmheft markiert als einmaligen Anlass. «Best of GAIA» , den Festivaltitel aufnehmend. Dass Ich bin stolz, als neuer Präsi- wir diese Werke grösstenteils in einer anderen Beset- dent diesem Kammermusikfestival zung spielen als beim ersten Mal, wird ihnen sicher vorzustehen und danke gleichzei- neue Facetten abgewinnen.
    [Show full text]
  • Dnesday 22 Thursday 23 Friday 24 Saturday 25
    programme overview Friday 17 - Saturday 25 October 2014 Friday 17 Saturday 18 Sunday 19 Monday 20 Tuesday 21 Wednesday 22 Thursday 23 Friday 24 Saturday 25 National Cello National Cello Bach & Breakfast Bach & Breakfast Bach & Breakfast Bach & Breakfast Bach & Breakfast Bach & Breakfast Competition Competition Johannes Moser Mischa Maisky Jens Peter Maintz Nicolas Altstaedt Tatjana Vassiljeva Jakob Koranyi First round First round (continued) 09.30, Grote Zaal 09.30, Grote Zaal 09.30, Grote Zaal 09.30, Grote Zaal 09.30, Grote Zaal 09.30, Grote Zaal 10.00, Grote Zaal 10.00, Grote Zaal Masterclasses Masterclasses National Cello Masterclasses Masterclasses Masterclasses Masterclasses Mischa Maisky and Alban Gerhardt and Competition Wolfgang Emanuel Schmidt and Laurence Lesser and Frans Helmerson and Louise Hopkins and Jens Peter Maintz Jean-Guihen Queyras Second round Dmitry Ferschtman Giovanni Sollima Johannes Moser Anner Bijlsma 10.15, Bimhuis & Kleine Zaal 10.15, Bimhuis & Kleine Zaal 10.30, Grote Zaal 10.15, 10.15, Bimhuis & Kleine Zaal 10.15, Bimhuis & Kleine Zaal 10.15, Bimhuis & Kleine Zaal Bimhuis & Kleine Zaal Herrie in de tent! Lunchtime concert Lunchtime concert Lunchtime concert Lunchtime concert Lunchtime concert Bonhams Instrument Valuation Show for young children (3+) Top talent from int. conservatoires Top talent from int. conservatoires Top talent from int. conservatoires Top talent from int. conservatoires Top talent from int. conservatoires Day 14.00, Kleine Zaal 12.30, Bimhuis 12.30, Grote Zaal 12.30, Bimhuis 12.30, Bimhuis 12.30, Bimhuis 11.00 - 17.00, Atrium Michiel Weidner, Petra Griffioen, National Cello Jeannette Landré National Cello Anner Bijlsma in conversation Competition Anner Bijlsma in conversation Extra masterclass Competition with..
    [Show full text]
  • Gavriel Lipkind
    Impulse Ausgabe Nr. 15 Februar 2007 kammermusik heute e.V. „Ein neuer Stern am Cellohimmel“ (FAZ) Gavriel Lipkind Unter dem Motto „Single Voice Polyphony“ steht das Soloprogramm des Cellisten Gavriel Lipkind, mit dem er am 2. und 3. März 2007 im Weißen Saal des Jenisch Hauses in Hamburg auftreten wird. Sein erstes Konzert, das vom israelischen Rundfunk und Fernsehen übertragen wurde, gab der Cellist Gavriel Lipkind mit acht Jahren. Er wurde 1977 in Tel Aviv als Sohn russischer Emigranten geboren. Lipkind bekam akademische Abschlüsse an drei bedeutenden Hochschulen auf drei Kontinenten, gewann zahlreiche Preise bei den wichtigsten internationalen Wettbewerben und trat in einigen der bedeutendsten Konzertsälen der Welt auf, mit Orchestern wie dem Israel Philharmonic Orchestra, den Münchener Philharmonikern und dem Baltimore Symphony Orchestra. Dabei arbeitete er mit so renommierten Musikern wie Zubin Mehta, Philippe Entremont, Giuseppe Sinopoli, Yehudi Menuhin, Pinchas Zuckermann, Yuri Bashmet und Gidon Kremer zusammen. Trotz seiner Erfolge entschloss sich Gavriel Lipkind mit 23 Jahren eine Auszeit vom Konzertpodium zu nehmen, um sein Repertoire auszuweiten, mit Komponisten zusammen zu arbeiten und CD-Aufnahmen zu machen. Lipkinds Repertoire umfasst mittlerweile sowohl alle Hauptwerke der Celloliteratur als auch zahlreiche Raritäten, Auftragskompositionen und seine eigenen Bearbeitungen und Transkriptionen. Ein besonderes Merkmal von Lipkinds Art der Interpretation ist, dass er auf wirklich andere Art mit dem Cello in Erscheinung treten will; er möchte die Erfahrungswelt des Publikums bereichern und intensiver mit ihm kommunizieren. Lipkind hat CDs u.a. für Sony Classical und Warner Music eingespielt. Jetzt entstanden drei CDs, die er in eigener Regie unter dem Label "Lipkind Productions / edel classics" veröffentlichte.
    [Show full text]
  • With Deep Gratitude to My Dear Friend Roberto Polo
    WITH DEEP GRATITUDE TO MY DEAR FRIEND R O B E RT O P OLO FOR HIS SUPPORT. H IS LOVE FOR MUSIC MADE THIS PRODUCTION POSSIBLE. RECORDING CONCERTOS Keeping the Square Round A concertante performance by its very nature involves many mu- sicians who belong to a given orchestra, choir or large ensemble, and who usually meet the soloist at a first rehearsal that is shortly before the perform- ance. A concertante performance therefore tends to be more reactive and less conceptual. The orchestra members (and at times even the conductor) merely try to follow, “catch”, anticipate the next move; fit into the next moment. As a result the overview of the piece is often lost. However, even more discouraging is the general “averaging effect” that occurs in the sound production. Especially modern recordings of concertos tend to sound careful and hesitant. Although the sound of the orchestra is al- ways healthy and voluminous, it mostly lacks the necessary edge, clear shape and a penetrating quality. 3 Orchestral counterpoints and solo parts that need to create tension with and be free of the rest of the texture, sound conformed and adaptive, often anemic and loud. Generally, hard edges, sudden movements and subtle differentiation, whether in temporal or dynamic phrasing, become impossible. In fact, present- ing such challenges to an orchestra is considered a lack of experience on the soloist’s side. Recording concertos in my experience could be compared to keeping a sharp square round a smooth – a contradiction of terms: Orchestra members are encouraged to interact and express: To implode, be off time, play against each other and experiment with different sonorities and inconsistencies.
    [Show full text]
  • Violin Masterclass with Leonid Kerbel
    TH TUESDAY 11 NOVEMBER 2014 10AM – 1PM DURRINGTON ROOM Violin Masterclass with Leonid Kerbel Supported by the Georg and Emily von Opel Foundation Born in Kharkov (Ukraine), Leonid Kerbel lives in Brussels. At the age of 4, he began his violin studies under prof. Kozlovicher at his native city, followed by prof. Yankilevich with whom he studied in Moscow. At the age of 11 he immigrated to Israel where he continued his studies with prof. Felix Andtrievsky and prof. Yair Kless. He finished his studies in Brussels with prof. Phillipe Hirshhorn and in Germany with prof.Rosa Fain. Leonid Kerbel is a laureate and a first prize winner of the Rubin Academy (Tel Aviv) solo and chamber music compositions as well as the Clairmont competition. He performed with world-renowned artists such as Paul Badura-Skoda, Sidney Harth, Mark Lubotsky and Gavriel Lipkind. He performs regularly as a soloist, concertmaster and leader of chamber music formations around Europe, and the USA and has recorded for the Israeli radio, BRTN, RTBF and USA National radio. Leonid Kerbel takes part in festivals such as Festival van Vlaanderen, Mozart Festival, Festival de Minimes and Festival de l'été Mosan. Often invited for recitals Leonid Kerbel was asked for a special recital in honour of the Belgian Royal famiy for the 175th birthday of the monarchy. He made several Cd and Dvd recordings in various chamber music formations. First violin of the Gertler string quartet, Horta string quartet and the Contrast string quartet. Currently Leonid Kerbel is a founder and a member of the Trio Sonnetto in which he collaborates with the pianist Eliane Reyes and the cellist Aleksandr Khramouchin.
    [Show full text]
  • SUGRĮŽIMAI 2020. Leidinys Apie Festivalį.Pdf
    LIETUVOS MUZIKŲ RĖMIMO FONDAS XXII Tarptautinis muzikos festivalis 2020 m. kovas–gegužė M uzikos F estivalis 2 0 FESTIVALĮ GLOBOJA IR REMIA LINAS LINKEVIČIUS Lietuvos Respublikos užsienio reikalų ministras Minister of Foreign Affairs of the Republic 2 of Lithuania 0 Tęsdamas gražią ilgametę tradiciją, tarptautinis muzikos festivalis „Sugrįžimai“ jau 22 kartą iš įvairių pasaulio kraštų sukviečia talentinguosius mūsų šalies muzikus. Sveikinu festivalio dalyvius ir organizatorius – Lietu- vos muzikų rėmimo fondą – dovanojančius Lietuvai muzikos šventę, nes FESTIVALIS SKIRIAMAS muzika, kaip niekas kitas, kuria laisvę mūsų širdyse, atveria kelius kalbėti VILNIAUS GAONO IR LIETUVOS ŽYDŲ ISTORIJOS METAMS ir būti išgirstiems. Šiemet švęsdami jubiliejinį 30-ąjį mūsų Valstybės Nepriklausomybės atkūrimo pavasarį, stabtelkime pasidžiaugti ir įvertinti, kokį prasmingą kelią nuėjome atgavę laisvę, prisimindami, kaip muzika ir dainos sutelkė bei pažadino mūsų tautą ryžtis savarankiškai kurti savo ateitį, atsiverti pasauliui. Eidama nepriklausomybės FESTIVALIO PARTNERIAI keliu, mūsų Valstybė įvairiose srityse pasiekė tikrai puikių rezultatų – ir visa tai kantraus, nuoseklaus žmonių darbo savo šaliai dėka. Šiandien galime didžiuotis išties gausiu būriu meno žmonių – kūrėjų, muzikų, atlikėjų, garsinančių Lietuvą pasaulio scenose. „Sugrįžimų“ dalyviams dėkoju, kad bendrystės ir namų ilgesio vedini buriatės draugėn ir savo talento galia per muziką tiesdami tvariausius tiltus į gimtinę, parvežate tarptautinę patirtį, dalinatės meistriškumo paslaptimis. LIETUVOS
    [Show full text]